急胡相问 (Hu-People’s Fast Dialog) from the Dunhuang Scores

In the early 11th century, a group of monks sealed a cave with more than 50,000 scrolls, including a wide variety of religious and secular documents. The uncertain future following the end of the Tang Dynasty likely inspired the creation of this "time capsule," which remained undiscovered for a thousand years. Among these artifacts were notations for 25 musical compositions, which I had the pleasure of beginning to study in 2018.
Musicians and musical instruments are depicted throughout the famous Dunhuang caves. One of the most iconic figures is the Feitian, a celestial being often shown playing the pipa and surrounded by flying musical instruments that play by themselves to please the Buddha in heavenly abodes. These depictions suggest that music was a vital part of the culture in Dunhuang. During the Tang Dynasty, music flourished, and traveling musicians from the West often entered China through Dunhuang. The scores, therefore, represent the peak of Tang Dynasty music.
Discovery
The "Library Cave" was discovered in 1900 by a Daoist monk who was safeguarding the area. At the time, the significance of the discovery was not fully recognized. To afford repairs to protect the caves, the monk sold many of the scrolls to foreign collectors at low prices. Among these were the pipa scores, which ended up in Paris. They were recognized as musical notation much later, having been initially selected for purchase because a copy of the Diamond Sutra had been written on the back. In the Tang Dynasty, paper was valuable, so back sides were often reused. This accidental preservation makes the pipa scores even more special.
The Challenge of Deciphering the Scores
From the recognition of the signs as pipa tablature to deciphering the notes and rhythm, the process has been a long journey of scholarly debate and experimentation spanning almost a century. Many details remain debated.
The Tang pipa had four strings and four frets. Including open strings, this produced a total of 25 signs. However, the exact tuning of the pipa during the Tang Dynasty is unknown. Most compositions end with an arpeggiated chord, and based on this clue, three potential tunings have been identified. These tunings correspond to the handwriting of three different copyists.
While the pitches can be precisely transcribed, the rhythmic notation is much more mysterious. We also don’t know how much freedom or variation performers might have applied. Ultimately, it falls to the performer to bring this music to life in a tasteful manner.
The Purpose of the Collection
The purpose of this collection remains unknown. Even if the scores represent only a fraction of the music heard in Dunhuang, the preservation of 25 pieces is nevertheless significant. Some have poetic names, hinting that they might have been performed with sung poetry, while others, more rapid in tempo, suggest accompaniment for dances. Memorable titles include The Hu-People’s Fast Dialog.
Instruments in Dunhuang
Thousands of musical instruments are depicted in the cave paintings, most commonly different types of pipa. Many depictions are imaginative rather than realistic, with varied shapes and sizes. However, historical records confirm that the Tang pipa had four or five strings and was among the most important instruments in Dunhuang. The presence of pipa notation in the Dunhuang scores aligns with its cultural prominence.
Wind and percussion instruments are also frequently depicted, often in ensembles. While no additional scores for these instruments have been found, it is likely that they accompanied the pipa and played the same melodies.
Reviving the Music
I first heard about the Dunhuang scores about ten years ago. Initially, I only had access to recordings of various reproductions, which I later learned had little to do with the original versions. Over time, I had the privilege of receiving guidance from experts in Tang Dynasty music, including Zhao WeiPing, who continues the work of his teacher Chen Yingshi. Chen dedicated most of his career to deciphering the Dunhuang scores and developed the most coherent and widely accepted methods for interpreting these notations.
Vincent Boucheau (France) also provided significant support by creating software that automates the transcription of the Dunhuang scores using various hypotheses. This software has confirmed the coherence of Chen Yingshi’s conclusions and clarified additional details through melodic analysis.
Since no living musical tradition survives from the Tang Dynasty, we can only speculate about how this music was performed. Instead, we must allow the music itself to guide us. These are timeless melodies in scales unfamiliar to modern ears. The mood of each piece is static, like a sculpture, yet each tells a compelling narrative.

[@peterjespersen9418]

That was exquisite, thanks so much. I would really look forward to more from these tablatures.

[@danielsntg]

🔥🔥🔥 very nice!

[@hermanmarpaunghermanmarpau3645]

From Guzheng to Guitar👌👍

[@Eduardo-mb6ml]

This is really good Johannes, thanks for sharing this music.

[@johannes81]

Thank you for listening!!

[@cradled_filth]

Delicate yet powerful. Gentle yet strong.

[@johannes81]

Thank you! Glad you like it!

[@Martianmars1]

Epic 🔥

[@johannes81]

Thank you!!

[@hermanmarpaunghermanmarpau3645]

What strings

[@johannes81]

D'addario Carbon normal tension

[@hermanmarpaunghermanmarpau3645]

@johannes81 Thank you